Candyman ★★½

A huge factor to what made Candyman so terrifying as an entity can all be attributed to the fact that he was the embodiment of a collective fear for African-Americans at the hands of racist authorities, prepared to take vengeance. The idea of him living on as an urban legend further solidifies how that fear lives on to this day, and it's what made the original Candyman so great - because it's all so tragic.

This new Candyman doesn't do terribly much to expand on such or perfectly modernize the tale for today, but it seems to be stuck within a loop it forms by itself. DaCosta is undoubtedly a talented filmmaker, but it feels hard enough for me to stay on board when the film seems to hinge upon one idea about African-American voices at the expense of white citizens and repeats itself a tad too often. By that point, it started to ring less to me as scary and more as preachy - which also doesn't help when the film is as short as it is. Yahya Abdul-Mateen II is fantastic, but ultimately there's so little to latch onto when its ideas never seem to go anywhere.

52 Films by Women, 2021: #54

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